The first step in overcoming writer’s block is knowing what type you’re suffering from. That’s right: there are many kinds of writer’s block and they all need different remedies. The classic image of an author scowling at their typewriter with a blank sheet of paper is a common enough problem but writers are just as likely to get blocked in the middle of a story as they are at the beginning. So let’s go over all the different types and how to overcome them.
Starting a New Chapter
This one can be a real pain. It might be the very first scene in a book, a chapter from the middle or even the epilogue. You know what’s meant to happen but, for some maddening reason, you can’t start the chapter. So you try to write regardless but it feels awkward and trite. Then you start to wonder if you’ve got the whole story wrong. Self-doubt overwhelms you and you question why the hell you chose to write a novel in the first place. Don’t give in to despair, though. When you’re suffering from writer’s block at the start of the chapter, it’s not the story that’s the problem but the storytelling.
The chances are you’ve started the scene at the wrong point in time. Your location and choice of characters are probably already spot on, you’ve just picked the wrong moment to get the action going. My advice: arrive late. If you’re having trouble, try starting the chapter in the middle of the action. You can easily explain how you got there through exposition or even a mini flashback. In all the times I’ve had writer’s block at the start of a chapter, I’ve never once resolved it by starting the scene earlier.
I actually used this technique in Mervyn vs. Dennis. The narrative begins in the middle of an awkward job interview. I could’ve started much earlier, when Mervyn (our narrator) was eating his breakfast or printing out his CV. This would’ve been effective to build anticipation before the interview began and to also get a clearer first impression of Dennis. Instead, I followed my instincts. This is simply how the story wanted to be told. Although the reader is thrown in the deep end, it’s into a scene that anyone can relate to. We’ve all endured job interviews. They’re easy to imagine and the reader understands the power dynamic without any explanation.
One word of warning with this method. If you arrive too late in a scene, especially in the first chapter where none of your characters are established, you might end up resorting to an infodump to explain how you got there. Infodumps, by their nature, are more interesting later in a novel when the reader is already invested in a character and wants to learn more about their history. Just think about Snape’s massive infodump in the final Harry Potter. Rowling actually paused the climactic battle to have an infodump flashback and completely got away with it. They can work in the first chapter but they have to be entertaining. Faulkner’s great at infodumps simply because his characters’ histories are so fascinating that you want to know as much about them as possible.
Stuck in the Middle
I’ve suffered from this form of writer’s block too many times to count. It happens when you’re in the middle of a story or novel and suddenly the words dry up. Everything you write feels clichéd, futile and wrong. For me it tends to manifest as encroaching despair. I dread the thought of writing and, when I’m working on the scene in question, I’m overwhelmed with pointlessness. I used to misinterpret it as self-doubt but I eventually realised it was my mind’s indirect way of telling me I’d done something wrong in the story.
My most common mistake is forcing a character to do something they don’t want to. That makes them sound petulant. And in a way, they are. Characters have free will (to an extent) and they don’t take kindly to being ordered about. That’s exactly why everything you write feels pointless when you’re suffering from writer’s block. The characters are no longer authentic–they’re doing what you want, not what they want.
This is both a good and bad thing. If you’ve carefully planned your narrative and suddenly a character no longer wants to follow it, what the hell’s going to happen to the rest of the story? In my experience, however, they rarely wander far astray. And the greatest thing of all is this: if you let them choose their own direction, they always take you somewhere much more interesting than where you’d already planned. In a way, they’re helping you discover what your narrative is really meant to be. Often, your characters understand your own story better than you do.
Finding a Solution
So how do you figure out the problem? To be honest, it’s tricky. The first thing you have to do is pinpoint where the writing starts to feel wrong. You may have to backtrack 100, 1000 or even 10,000 words. Find the last place in your text that you’re completely happy with. The chances are that your mistake is somewhere around there. Once you’ve figured out the area, it’s time to work out what’s wrong. This is the hardest part of all. In the past I’ve spent entire weeks mulling over a certain scene that felt off. They’ve typically been solved by light bulb moments just before I fall asleep or while I’m taking a
dump shower. The best thing to do is imagine the scene in your mind. Play it over and over and experiment. Try as many variations as you can. Think about what’s happening from your characters’ perspectives, even those that have no narrative viewpoint in your story. Imagine what they’re thinking and feeling and how they could react.
These problems often arise when characters are being reticent. In one scene from The Papyrus Empire, two characters are trying to get information off each other while pretending not to. They both know too much and are trying to drop hints without fully showing their hands. It was an utter nightmare to write and I got seriously blocked several times in a row. Because the characters were being so evasive and ironic, it was difficult to imagine what exactly they should say and do. In the end it just took time and experimentation. If you want to make things easy on yourself, you can always just have straightforward characters who always speak their mind.
Because we know our characters so well, it’s easy to get caught up in the minutiae of their feelings and motivations. As such, you’ll sometimes find yourself utterly overwhelmed by the scale of the task in hand. This can paralyse you and lead to a writer’s block it’s hard to escape from. When I say complicated, I don’t mean the labyrinthine plot of a neo-noir mystery. The emotions of a married couple can be just as complex as a twisty-turny thriller. If you know your characters well enough, and you’re prepared to look deep into their hearts, you’ll know exactly what makes them tick, both consciously and unconsciously. All this is great for building believable and interesting characters, but bearing so much information in mind can be a burden for the writer.
How best to resolve it? In short: simplify. If you’re ever tangled up in knots, you don’t have to explain your way out with clunky exposition. There’s always a simple solution if you’re prepared to look. Don’t settle for deus ex machinas–your reader might not forgive you. The trick is to find the easy solution while also avoiding plotholes. In Mervyn vs. Dennis, I always knew I wanted Dennis to gatecrash Mervyn’s party. That alone would’ve been easy enough but I needed Dennis to arrive at a certain time. No matter how hard I thought, I couldn’t come up with a believable way that Dennis would arrive on cue. The more I tried to explain his lateness, the more it sounded like I was trying to dig myself out of a plothole.
But then I had a brainwave. I was thinking too much about Dennis. The answer, in fact, was in the secondary characters. Suffering from the fear, Mervyn’s brother Cecil invites Dennis’s ‘sister’ Glenda to cheer himself up. Being the busybody that he is, Dennis intercepts the message and arrives in her place. This way, everyone acts naturally. Additionally, we learn that Dennis sleeps in the same bed as Glenda, giving the reader an extra glimpse into his creepy private life. It’s natural to focus on your main characters but if you ever get caught up in over-complications, think about your secondary characters and how they might be able to help.
A Lack of Ideas
Thankfully, this is one form of writer’s block I’ve almost never struggled with. Right now, I’ve got at least five novels planned out that I could be working on. I’ve never suffered from a lack of ideas, just a lack of time. But if you’re sitting at your computer sighing at that blinking cursor, the best thing you can do is something else. Writers have their own way of looking at the world. We tend to notice things that other people don’t. So if you’ve run out of ideas, it’s time to go out and get noticing. You don’t have to go skydiving or visit a gallery. Even a trip to the supermarket is a potential goldmine of ideas. The most important thing is to look. Steal ideas from the world. You might even have some fun!
It’s easy to blame mobile phones. All in all, I think they’re rather useful, but they’ve also stopped us from having contemplative moments. These days, when people are waiting for the bus, they no longer stare into space. Instead, they whip out their mobile and check Facebook or Twitter for ten minutes. Although waiting for the bus is tedious and painful, those quiet moments when you’re alone with your thoughts are invaluable for solving writing problems. It’s why so many people have great ideas in the shower. It’s a form of meditation where your body acts out a routine, allowing your mind to wander, contemplate life’s disappointments and invent bestselling consumer products.
Instead of sitting down and trying to write a scene from scratch, a great way to come up with ideas is to make up synopses. It’s a challenge I set myself after I finished The Papyrus Empire: writing the synopses for five entirely new novels. They were super cheesy blurbs, full of portentous clichés and dramatic tropes, but one of them ended up becoming Mervyn vs. Dennis. A couple of the others aren’t so bad as well and might even blossom into real novels one day.
Other Writer’s Block Solutions
If you’re suffering from writer’s block and none of my suggestions have helped, it’s not time to abandon all hope just yet. When I’m faced with a baffling scene where nothing seems to work, I print out the section and rewrite it in pen onto a fresh sheet of paper. It’s amazing how often this works. Word processors are great because you can write so quickly–almost at the speed your mind is working at–but sometimes your mind works better when it takes its time. The slower and more deliberate technique of writing by hand allows you to consider each word carefully. Through writing by hand, you’re more connected to the words in a tactile way. Away from the constant distractions and reminders of a computer, all you’ve got is your pen and your mind. It’s you vs. the words, and it works better than you’d think.
Do you have someone to talk to? Even if they don’t understand the details of your story, often just by explaining the scene to someone else, you’ll see it from another angle and realise what the problem is. Thinking to yourself too long can become an echo chamber. All you hear are your own thoughts and anxieties repeated back. By explaining the situation to somebody else, however, you have to reword it in a way so they can get a handle on the plot and the scene. This summarising allows you to see its component parts and spot the weak link.
Other people might tell you to go and write something else. If that words for you, then great. For me, though, it’s impossible. Once I’ve started writing something, I can’t work on something else (unless it’s just editing). They might also tell you to go and take a break. There’s truth in this, of course, but you have to make sure you’ve taking the right kind of break. Try to immerse yourself in as much culture as possible. Highbrow or lowbrow, it doesn’t matter. Your mind will make connections no matter what its consuming. You’re just as likely to find your answer by watching a game show as you are at the opera.
Overcoming Writer’s Block
While some authors never get writer’s block at all, others suffer from it pathologically. In my opinion, the more you care about a story and the characters, the more likely you are to experience writer’s block. If you’re in the business of churning out cheesy thrillers full of plotholes and cardboard characters, writer’s block won’t even slow you down. If you’re suffering from writer’s block, quite simply it means you care. You want to write something exceptional that makes perfect sense, both in terms of emotion and the narrative. Good for you!
Do you have any tips for dealing with writer’s block? Has this blog helped you to overcome a problem? Let me know in the comments below.
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